THREE BLONDES IN HIS LIFE (1961)

This apparent single Golden Film Production—this poster is golden—surely struggled at the box office on its second weekend. The score is composed and conducted by Andre Brummer and His Dectet. A jazzy opening title song, written by him and Francis Turner, is performed by The Russo Brothers, giving an impression this is a lighthearted comedy. Tony Randall is not in this movie. Perhaps a fair warning the film should not be taken too seriously. Though overlong at eighty-six minutes, it seems longer.

Famous stuntman, Jock Mahoney, plays an insurance investigator, aka a private detective, who is hired to find out what happened to his company's missing detective and operative in Los Angeles. This is his film and he adds stability to the production. An airline ticket awaits from New York to Los Angeles aboard an American Airlines 707 Astrojet in classic red-orange lightning bolt livery: black and white film does not do it justice. According to his inner thought voice-overs, the only thing on the investigator's mind is the women he has encountered throughout his travels. Handsome Mahoney goes by the name of Duke. Naturally. He is not easily ruffled with the confidence and swagger to take on anything or anyone. He dominates any room he is in. He joins forces with his Los Angeles contact, cigar-chomping Jesse White. A guy with an apple fetish, always eating or offering one. By the same token, we learn Mahoney's favorite alcoholic drink because he is either ordering one or being offered one. There is good chemistry between them and White's distinct delivery and expressions help a very talkative script. Mahoney has been given the authority to fire White for his incompetency, yet he is still on the job by the film's end.

White picks up Mahoney at the airport in a convertible which becomes one of the most faked, budget-strained prop cars I have seen in a film. No suggested car, windshield frame, or dashboard. Just two guys sitting in front of a camera with a steering wheel in front of rear-projected highway traffic. While “traveling” on a 4-lane freeway at speed—in between the obligatory horn honks—listen closely for the sparrows chirping as if the two were sitting in a quiet city park. 

There is so much explanatory dialogue by screenwriter and director, Leon Chooluck, that your auditory senses may shut down completely. Time is spent filming the principal cast members reading lengthy accident reports related to the case. Unless you are taking dictation, you may not keep things straight. Three blondes were involved with the missing investigator. When his cold body turns up it becomes a murder case. Mahoney's first blonde interview, Elaine Edwards, the wife of the murdered detective, provides a backstory of major proportions. He is only able to stay awake by her seduction attempts—yet so distraught over her husband's recent demise. His second encounter, Valerie Porter, seems to have borrowed the same script. The silliest by far is Greta Thyssen (below) in an ostentatious, fire-retardant wig. The other identifying trademark is the use of Hollywood's stereotypical sultry saxophone every time she appears. She has a lot of “something more comfortable” to slip into with strategically placed mirrors in her bedroom.

Mahoney and White investigate the mountain cabin where Edward's husband was murdered, with assistance from a drowsy old sheriff and his Jeep. Back in town, adding the first bit of excitement is Mahoney's stunt work as he is "pushed" down a stairway head first by actor Anthony Dexter. Their later fight scene has Mahoney knocked to the floor on his back. As Dexter approaches, Mahoney sends him halfway across the room with his legs. Dexter is soon out of his element and his stand-in takes over. From one stuntman to another, the energetic fight is well choreographed and they destroy the apartment. Police are called to the scene in a 1950 Nash traveling so fast in time it transforms into a 1956 Ford at the scene. The film ends with another “exciting” reading of the official report in an attempt to put a wrap on the movie. 

Note: This appears to be a television pilot movie that every network rejected. Speaking of television, this film may be the only indirect reference to the then-popular, Gerald “Kookie” Kookson, III of “77 Sunset Strip” television fame. With a wry smile, Mahoney questions a young “cool cat” parking attendant if he ever watches television. The hipster's reply indicates he is familiar with the show.